The CW original series Kung Fu follows the life-changing decision of Chinese American college student Nicky Shen (Olivia Liang) to trade her life as a student for one of martial-arts mastery, which she applies to cleaning up crime in her hometown of San Francisco. The series was given its signature look by Season 1 cinematographers Lindsay George and Neil Cervin, CSC, NZCS, who worked with Panavision Vancouver to build an equipment package around Panavision G Series anamorphic optics and Panavised Alexa Mini cameras. That approach has continued through Kung Fu's third season, which saw cinematographers Christopher Charles Kempinski and Geoff Wallace alternating episodes and expanding their palette to incorporate Primo Close Focus primes. Here, Kempinski and Wallace discuss the optical qualities that allowed the series to move in exciting new directions.
Panavision: How would you describe the look of the series?
Christopher Charles Kempinski: I consider it natural yet also somewhat forced. We like to bring the camera to the action or bring the action to the camera, and because of the need to be efficient during the fight sequences, I learned to light the room to give directors, the cast and the stunt team the freedom to move in the space. The production designer, Bridget McGuire, made that process simple and was always on board when designing sets and locations.
Geoff Wallace: I looked at it as maintaining a style that had been established by some great cinematographers ahead of me on this series. One of the greatest aspects of this show is the creative concept of developing different realms the characters visit, each with its own unique look and style. That's where I found I was really able to be creative and give each realm its own feel visually.
Were there any particular visual references that provided inspiration?
Kempinski: The show itself is a grounded family drama with fighting. Season 2 really started exploring the spiritual and mystical aspects. That said, I set out to try to ground everything spiritual and fantastical in camera, with minimal VFX. Most of the references were from ancient Chinese folklore. The reds and blues from tablet art and ancient scrolls, along with the tones and framing, helped in shooting each scene and accenting our locations.
Wallace: For me it was about keeping the look and feel that has done this series well, established in Season 1 by Neil Cervin and Lindsay George, and continued in Season 2 by Lindsay and Chris. When it came to the realms, I let the script guide me and used references from movies past that I felt had a look that would work well with our story. For example, for the Abandoned Wasteland,' I used references like Jarhead, Three Kings and The Book of Eli.
What brought you to Panavision for this project?
Kempinski: I was brought into Season 2 by the very talented Lindsay George, who did the first season, and Joe Menendez, the producing director. The lenses and aspect ratio were established in the first season, but I couldnt have been more thrilled. Panavision has supported me since my early transition to DP, and I know the quality of glass and service is capable of overachieving at the highest level. Also, the ability to modify or machine specific pieces to help make specific shots possible is invaluable. The compact periscope was one tool we kept for the run of the show. Knowing we could put a 17.5mm lens right on the ground allowed for some dynamic shot designs. Most low-angle prisms won't let you use anything wider than a 40mm.
Wallace: Panavision is a world leader in our industry and always looking to advance our creative ambitions as cinematographers. One of the driving forces for using Panavision is the great selection of optics that are just not available anywhere else.
What optical characteristics did you see in the G Series that made them the right match for Kung Fu?
Kempinski: I love the look of these lenses. The trademark blue streak made our Season 2 finale what it was. The minimal breathing when focusing is perfectly imperfect,' to borrow a phrase Phil Lanyon [CSC] used when we were comparing Star Trek and Kung Fu. The lens distortion and pinpoint focus is just perfect, and how the background falls out and falls off is amazing. The look of the show is baked in with the G Series lenses as soon as the lens is up on the camera, the look is there.
Wallace: The G Series lenses were a great option for us that worked well with all the creative realms while still maintaining a clean overarching look for the main storyline. They provide clean skin tones and a slight softness that takes the edge off the look of modern digital cameras.
Kempinski: For Season 2, we ordered a 35mm Primo Close Focus for a specialty shot, and Joe Menendez absolutely fell in love it. That's when we began talking about a hybrid approach for Season 3. Adam Osten at Panavision Vancouver did a great job of sourcing a set of Close Focus Primos. We quickly established a style of blocking with the camera chasing the action or the action coming to the lens; the Primos became an essential part of this, allowing us to start wide, move the camera into an over-medium that would push to a close-up, and still leave room for the dramatic scene to push into an ECU at the end. They also helped with fight sequences, giving us an extra stop and change for slow motion and off-shutter. I need to give A-cam 1st AC Terry Garnett a shout out, as he was constantly using the entire focus wheel, starting at 50 feet and ending each shot at nine inch mins, nailing it every time. If you're shooting in Vancouver, definitely check if he's available!
How does this project differ from others in your career?
Wallace: As a cinematographer, a show like this is unique because it has everything, from fight scenes to love scenes, creative dimensions i
Most recent headlines
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
07/10/2026
Dalet, a leading technology and service provider for media-rich organizations, today announced the latest Long-Term Supported (LTS) release of Dalet Flex. Build...
06/09/2026
June 9 2026, 23:00 (PDT) Dolby and MagentaTV Bring Fans Closer to the FIFA Worl...
19/08/2026
As the cost of IP nears price parity with traditional SDI, Reynolds argues that ...
19/08/2026
A private 5G bubble was chosen instead of traditional broadcast RF for the race ...
19/08/2026
(L-R) Rafael Manuel and Isabel Sicat attend the Filipi ana premiere during the 2026 Sundance Film Festival at The Ray Theatre on January 23, 2026, in Park Cit...
19/08/2026
Studio owners invited to have their say on rates cuts
The Music Producers Guild (MPG) are inviting UK-based studios to take part in an in-depth survey that ...
19/08/2026
Vintage-inspired desktop interface revealed
Harrison's latest hardware offering sees them head into the world of audio interfaces, delivering a 10-in/12...
19/08/2026
Granular effect remains locked to scale and tempo
Described as your dream granular effect , Minimal Audio's latest creation is capable of turning any s...
19/08/2026
First polyphonic SWAM instrument incoming
Audio Modeling's latest physical-modelling orchestral instrument is just around the corner, and is now availab...
19/08/2026
World Cup Games Generate 84 Billion Minutes Across FOX, Fox Sports 1 and NBCU...
19/08/2026
July brought typical peak-holiday drops in viewership, driven primarily by viewers stepping away from screens and a visible decline in reach across both traditi...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Henry joins BCE as the company accelerates its commercial strategy and expands its international presence across the media, broadcast and technology markets. He...
19/08/2026
iWedia, a leading provider of software solutions for connected TV devices, today announced a major milestone in Android platform optimization with the successfu...
19/08/2026
NTP Technology announces that ST 2110-30 audio-over-IP connectivity with AES67 and RAVENNA capabilities is now available for the brand's world-class audio i...
19/08/2026
Net Insight has been selected to provide its Nimbra platform by the service provider Big Blue Marble, formerly ORS Group, as the core media transport solution f...
19/08/2026
LiveU has supported Coventry City FC and several other top-flight UK football clubs through one of their most demanding live production challenges of the year, ...
19/08/2026
Nature Seekers Documentary Shot with Blackmagic URSA Cine 12K LF
Brie Clayton August 18, 2026
0 Comments
Filming endangered turtles required camera...
19/08/2026
Neyrinck Brings D-Control Consoles Back to Life on Apple Silicon with D-Control ...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
19/08/2026
Riedel Communications today announced that Edith Cowan University (ECU) in Perth, Australia, implemented a comprehensive communications infrastructure that brin...
19/08/2026
QuickLink, a leading provider of award-winning video production and remote guest contribution solutions, will spotlight a major leap forward in remote guest con...
19/08/2026
Integrated platform melds media asset management, playout automation and newsroom workflows
EMAM, PlayBox Neo and SNEWS have officially launched Nuvex, a conne...
19/08/2026
Screen Australia releases the Private Investment Toolkit to strengthen screen in...
19/08/2026
Do Aussies truly value local content? Unpacking Screen Currency 2026 with Deirdr...
19/08/2026
There's an early Christmas gift for Bookish fans, as UKTV confirms the re-commission of the hit U&alibi drama, created by and starring Mark Gatiss. Viewers ...
19/08/2026
Wednesday 19 August 2026
Sky gives sports fans the chance to watch multiple liv...
19/08/2026
On Saturday September 5 Katie Taylor will step into the ring for the fight of her life against Flora Pili in front of 80,000 fans in Croke Park. A legendary fig...
18/08/2026
SportStream 2026, a free three-day virtual event, will take place September 15-17. One registration provides access to all three days of live programming and on...
18/08/2026
BeckTV will introduce BeckFlow to the European market at IBC2026, demonstrated on the Providius stand (10.F53).
BeckFlow is a web-based schematic documentation...
18/08/2026
Boland Communications will introduce a SMPTE ST 2110 input option for its 4K monitors at IBC2026, along with a new 55-inch super-narrow bezel display for video ...
18/08/2026
Dolby Laboratories and the Seattle Seahawks have announced a partnership integrating Dolby OptiView into the Seahawks' live streaming coverage, making the S...
18/08/2026
For BMG Executive Producer of Sports Production, Graham Taylor, producing live s...
18/08/2026
TMRW Sports has appointed Rufus Hack as President of Golf, a newly created role in which he will lead the company's golf businesses including TGL presented ...
18/08/2026
SMT will provide race technology for FOX Sports' coverage of the Freedom 250 Grand Prix of Washington, D.C. on August 23, when the NTT INDYCAR SERIES races ...
18/08/2026
The live, YouTube-native roundtables combine fan voices, credentialed reporters,...
18/08/2026
Behind The Mic provides a roundup of recent news regarding on-air talent, includ...
18/08/2026
The industry legend sounds off on replacing the Heat's iconic Medusa score...
18/08/2026
William F. Rasmussen, the sports fan-turned broadcaster and entrepreneur whose out-of-the-box idea of a 24-hour cable sports network, ESPN, changed forever the ...
18/08/2026
DAZN Group has completed its acquisition of ViewLift, a provider of streaming and digital solutions for sports content owners. The acquisition was first announc...
18/08/2026
The American Association of Professional Baseball (AAPB) has added SI TV, Sports Illustrated's 24/7 streaming channel, as a broadcast partner for the remain...
18/08/2026
The Esports Foundation has announced that the inaugural Esports Nations Cup (ENC), originally scheduled for November 2026 in Riyadh, will be postponed to Novemb...
18/08/2026
Diversified has announced a new Global Managed Services Practice, consolidating the company's managed services capabilities into one organization. Rob Mello...
18/08/2026
Appear has completed a proof of concept with Thoroughbred Racing Productions (TRP), demonstrating multi-camera remote live production over bonded 5G cellular an...
The CW original series Kung Fu follows the life-changing decision of Chinese American college student Nicky Shen (Olivia Liang) to trade her life as a student for one of martial-arts mastery, which she applies to cleaning up crime in her hometown of San Francisco. The series was given its signature look by Season 1 cinematographers Lindsay George and Neil Cervin, CSC, NZCS, who worked with Panavision Vancouver to build an equipment package around Panavision G Series anamorphic optics and Panavised Alexa Mini cameras. That approach has continued through Kung Fu's third season, which saw cinematographers Christopher Charles Kempinski and Geoff Wallace alternating episodes and expanding their palette to incorporate Primo Close Focus primes. Here, Kempinski and Wallace discuss the optical qualities that allowed the series to move in exciting new directions.
